A keen eye at flea markets or estate sales can yield a masterpiece

A rare engraving by the Belgian engraver Lucas Vorsterman, dated 1621, was a find for only $20Irving Silverstein

STATEN ISLAND, N.Y. - When it comes to old master etchings, it pays to know a little something about how to date them and the reason they were originally made.

I recently spotted an early etching, unframed, resting on a table top at the 26th Street flea market in Manhattan. I could tell immediately that it had great age and was indeed centuries old.

I noticed the name on the bottom left hand corner read "P.P. Rubens," and next to his name was the Latin word pinxt, which means "inventor" or "maker." Another name associated with this etching was Lucas Vorsterman, which I recognized as an important etcher working in Belgium during the early years of the 17th century.

Etchings were a cheap way of advertising the works of certain painters who could make numerous copies of their works on paper, which could be distributed to many parts of the world.

I have for years enjoyed amassing old drawings – especially etchings, since they are works of art carried out by a handful of gifted people.

Today one must look even harder to come upon these ancient engravings since most important works of art are privately owned, or found in museums or in university collections around the world.

Collecting prints dates back hundreds of years. Kings, queens and artists like Peter Paul Rubens and Sir Anthony van Dyck had the desire and means to engage in serious collecting.

This particular engraving is based on an oil painting executed by Rubens whose body of works consists mainly of religious subjects such as altar pieces. The title of this painting and my engraving is "Give to Caesar what belongs to Caesar, and give to God what belongs to God."

Vorsterman was born in Zaltbommel, a 14th-century village on the banks of the river Rhine, around 1617 and became one of Rubens' primary engravers.

Rubens had numerous engravers during his lifetime, but he drove most of them away because he was too demanding. Around 1621, Lucas had a violent dispute with Rubens, causing him to seek employment elsewhere. In 1624, Vorsterman arrived in England, surviving on the patronage of royalty and the nobility.

Soon returning to Antwerp, van Dyck selected Vorsterman as one of his print makers to indulge in a project called the "Iconography," giving him the rare opportunity to work for this important portrait painter. Van Dyck considered Vorsterman one of the most gifted engravers of his time.

Around 1638, Vorsterman lost his eyesight and was soon living in poverty. His final years were spent at the Antwerp Guild of St. Luke until his death in 1675.

One might be lucky enough to acquire one or two of these masterpieces in a lifetime since they are very costly. But if you have a keen eye and are clever enough to spot those few that slip through the cracks, then lucky for you. Who knows? You just might stumble upon one at an estate sale.

This wonderful etching only cost me $20; if purchased in a print shop, it might have cost well over $500. Antique shows can be the ideal opportunities to focus on works on paper since many dealers are unable to identify early drawings or etchings.

Flea markets might turn up something important. But that could take too long – and require too much patience. Dealers often purchase entire estates, caring more about making a quick buck than doing basic research.

Since many dealers will sell you something in order to make that quick sale, this could be beneficial if you are able to tell a fake from the genuine article.

It's wonderful when one is able to recognize these important works on paper – especially if they can be purchased for a song.

Art is in the eye of the beholder; collect what you admire since you have to live with it every day. For me, it is a challenge to unearth rare art for a reasonable price and to eventually share it with the public for future generations to appreciate.